Jamar Goodman

Hartford Ballet

American Ballet Theatre (2000-2003)

Pennsylvania Ballet (2003-2005)

  • Originally from Waterbury, Connecticut, Jamar Goodman began his dance training when he was eight years old at The School of the Hartford Ballet under a Dance City Youth Scholarship. While studying in the pre-professional program from 1990 to 1998, Mr. Goodman received classical ballet, modern, composition, jazz and African movement training. Mr. Goodman was concurrently a member of The Hartford Ballet’s Touring Ensemble. Mr. Goodman’s performance credits with The Hartford Ballet included roles in Kirk Peterson’s productions of The Sleeping Beauty, The Nutcracker, Le Sacre du Printemps, and Amazed in Burning Dreams.
  • In 1998 Mr. Goodman joined the American Ballet Theatre Studio Company, and 2000, joined American Ballet Theatre. While a member of American Ballet Theatre, Mr. Goodman danced roles in Kevin McKenzie’s productions of The Nutcracker, Swan Lake, and Don Quixote, George Balanchine’s Theme and Variations, Ronald Hynd’s The Merry Widow, and Harald Lander’s Etudes. From 2003 through 2005, Mr. Goodman was a member of the Pennsylvania Ballet where he danced roles in George Balanchine’s The Four Temperaments and Agon, Peter Martins’ Fearful Symmetries, and Christopher Wheeldon’s new production of Swan Lake. In 2005 Mr. Goodman left the Pennsylvania Ballet to pursue a career as a freelance guest artist. From 2005 through 2006 Mr. Goodman was a dancer with Carnival Cruise Lines. Mr. Goodman was a dancer in the film, Center Stage, and appeared in the published works, “The Dancer Book”.
  • Mentioned in 1998 NY Times article on ABT’s Studio Company: “”Trio Vivace” was a polished but somewhat academic new piece choreographed by a former Ballet Theater principal, Leslie Browne. to music by Handel and Vivaldi. The trio gave its two women (Mayo Sugano and Erica Cornejo) a chance to display polished ballerina manners. It also introduced an immensely promising 16-year-old, Jamar Goodman. Trained by Kirk Peterson at the Hartford Ballet school, Mr. Goodman has a streamlined classical technique and control and a hint of windblown abandon that may further distinguish his dancing when he becomes more experienced.”

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